Old empire and new global luxury: Fashioning global design

McNeil, PK

Old empire and new global luxury: Fashioning global design

McNeil, PK

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Publisher:: Routledge
Publication Type:: Chapter
Citation:: Global Design History, 2011, 1, pp. 138 - 149
Issue Date:: 2011-01

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Field	Value	Language
dc.contributor.author	McNeil, PK https://orcid.org/0000-0002-2151-4196	en_US
dc.contributor.editor	Adamson, G	en_US
dc.contributor.editor	Riello, G	en_US
dc.contributor.editor	Teasley, S	en_US
dc.date.issued	2011-01	en_US
dc.identifier.citation	Global Design History, 2011, 1, pp. 138 - 149	en_US
dc.identifier.isbn	978-0-415-57285-9	en_US
dc.identifier.uri	http://hdl.handle.net/10453/17785
dc.description.abstract	In 1989, Brisbane-based fashion designers Pam Easton and Lydia Pearson began to create from an Australian provincial city their range of garments that were deliberately nostalgic and feminine, with an air of knowing retrospection generated through an engagement with historical and ethnographic sources. At first they were not widely known, their market was completely local, and sometimes they were misunderstood. Within ten years their female clothing-line, manufactured in Brisbane, made of textiles garnered from Italy, France, Vietnam and India, was retailing in Browns, London; Neiman Marcus, USA; and Alta Moda, Kuwait. An engagement with ethnographic sources by contemporary designers is not uncommon, sometimes amounting to a type of scavenging activity, perhaps Baudelairian 'rag-picking' to be more poetic and polite. Within Easton Pearson's design imagination, traditional designs are not simply copied, but rather amended, to create new allusions and aesthetics. In going to the 'source' of ethnic textiles and re-commissioning in India fabrics that had not been produced in some cases for decades, their practice raises questions about authenticity, intervention and revival.	en_US
dc.publisher	Routledge	en_US
dc.relation.ispartof	Global Design History	en_US
dc.title	Old empire and new global luxury: Fashioning global design	en_US
dc.type	Chapter
utslib.location	London and New York	en_US
utslib.for	1203 Design Practice and Management	en_US
utslib.citation.edition	1	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
pubs.organisational-group	/University of Technology Sydney/Strength - CCDP - Contemporary Design Practice
utslib.copyright.status	closed_access
pubs.consider-herdc	true	en_US
pubs.edition	1	en_US
pubs.place-of-publication	London and New York	en_US

Abstract:

In 1989, Brisbane-based fashion designers Pam Easton and Lydia Pearson began to create from an Australian provincial city their range of garments that were deliberately nostalgic and feminine, with an air of knowing retrospection generated through an engagement with historical and ethnographic sources. At first they were not widely known, their market was completely local, and sometimes they were misunderstood. Within ten years their female clothing-line, manufactured in Brisbane, made of textiles garnered from Italy, France, Vietnam and India, was retailing in Browns, London; Neiman Marcus, USA; and Alta Moda, Kuwait. An engagement with ethnographic sources by contemporary designers is not uncommon, sometimes amounting to a type of scavenging activity, perhaps Baudelairian 'rag-picking' to be more poetic and polite. Within Easton Pearson's design imagination, traditional designs are not simply copied, but rather amended, to create new allusions and aesthetics. In going to the 'source' of ethnic textiles and re-commissioning in India fabrics that had not been produced in some cases for decades, their practice raises questions about authenticity, intervention and revival.

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http://hdl.handle.net/10453/17785